Basket Case Trilogy 'Limited Edition Steelbook | Basket Case / Basket Case 2 / Basket Case 3: The P

This is a beautiful set from top to bottom. My friend found it and bought it from Kim's for $70 (and I would have done the same had they had 2). The next day, I ordered this set from amazon.co.uk, because, after conversion rates and shipping, it came out to just under $36 dollars. I suggest you all do that as well, because this set is worth it, and it's worth the 2 weeks wait to save $20.

Seriously, go out and buy this now. You won't regret it.

Well, here it is the ultimate "Basket Case" collectible. All three films on region free Blu-ray discs looking and sounding the best they ever have, plus a comprehensive documentary (almost 80 mins), a suite of extras collected from previous DVD releases of the first film (commentary, outtakes, trailers, photos), a look at UK horror movie posters and an Easter egg featuring an FX workshop tour all wrapped up in metal box with great new cover art. Wow-factor: 11 out of 10. The first movie is a genuine low-budget horror classic, and the glossier sequels make for cheerfully demented viewing. Plus, Belial fans should note that a potential "Basket 4" is hinted at in the documentary, so buy this now and stay tuned for more mayhem.

Buy Basket Case Trilogy 'Limited Edition Steelbook | Basket Case / Basket Case 2 / Basket Case 3: The P Now

Heaven (2002)

What is true love? What would we do to keep it, once we find it? Is this what it is like to find a true soulmate? What is wrong and right if we seek redemption, but are dragged down by a lust for justice?

Few filmmakers could address such questions with any kind of depth without relying on schmaltz, but one such was the late Krzysztof Kieslowski, who brought us such beautiful films as the Trois Couleurs Trilogy. But when he died after beginning a new cycle of films, Tom Tykwer stepped in to finish Kieslowski's final work -and the exquisite result is a light-filled hybrid of both their styles.

In Italy, young schoolteacher Phillipa Paccard (Cate Blanchett) sneaks into drug kingpin Vendice's office and plants a bomb in his trash, not knowing that the trash is about to be collected. The resulting explosion kills the cleaning lady, a man and his two children. When Phillipa is arrested and told this, she is aghast. She only intended to kill the kingpin, because his distribution of drugs has been killing her pupils, and killed her husband. She has asked the cabinieri to help, but no one has answered. So she took justice into her own hands.

A young Italian cabinieri, Filippo (Giovanni Ribisi), serves as a translator for Phillipa, and he is struck by her self-recrimination and sorrow. When her evidence is destroyed by a spy in the police, Philipo creates an elaborate escape plan, then helps her kill Vendice. From there, they escape into Tuscany, where their bond grows deeper. The soul mates live in what seems like a paradise, shaving their heads and wearing identical clothes. But Tuscany is not heaven, and they are still not safe.

Tom Tykwer gave the film its focus (lovers in jeopardy) and unearthly direction, but Krzysztof Kieslowski provided the heart and soul of it. In that sense, it is wholly his movie. Themes of guilt and redemption, love and salvation, punishment and forgiveness run deep in "Heaven." Symbolism clings to it like ivy (the white shirts, the bright lights), and there are definite religious tones to it -Phillipa's confession to Filipo in a church, the wistful watching of a wedding, and the ascension into the skies -not the triumph of law, but the triumph of love and forgiveness.

The handling of Phillipa and Filippo is exquisite, such as the scenes where they shave their heads and wear identical clothes, run and walk in unison. He was born on the day of her first communion, and their names are male and female versions of each other's, yin and yang. Not exactly subtle, but convincing. The direction is otherworldly, even in scenes like Phillipa shooting Vendice. In the latter half of the film, this dreaminess pervades everything -the trees, sky, ruined stone churches and the tiny running figures.

The main problems, it seems, would be the ocasional clash between Tykwer and the late Kieslowski's style. Some parts are more Tykwer, some are more Kieslowski, so it seems sometimes that the focus is less on the storyline and more on the lovers (which is more Tykwer). Additionally, when the lovers arrive in Tuscany the tone changes to a less hard-edged, more romantic one. Some viewers may find this disconcerting, but I found it a natural progression as the two grew closer and sought some kind of haven, even if Phillipa doesn't want to go unpunished.

Cate Blanchett is in amazing form here, expressing grief, love, pride, and anger with only a slight change of expression. Giovanni Ribisi is almost as good; he's a little stiff in the beginning, but loosens up and becomes fully believable as a very young man who is very deeply in love. Remo Girone appears in only a few scenes as Filipo's dad, but is heartbreakingly good.

With the best of Tykwer and Kieslowski carefully woven together, "Heaven" is a quietly passionate, deeply romantic movie. An amazing, heartbreaking movie, and not one to be missed.

Save 60% Off

Chocolat (2011)

Lasse Hallstrom's film version of the Joanne Harris' novel Chocolat is as delightful a confection as were the heroines' chocolate creations themselves. The plot is intricate and intriguing, carrying the viewer through the emotional transformations of each of the main characters. In a sleepy medieval French town where life has assumed a repressive structure that has created an emotionally frozen and empty life for even the most highly placed members of its society, the heroine Vianne and her daughter arrive to set up a chocolate shop. With her wonderfully concocted sweets she manages to liberate some of the denizens of the town, revealing their potential for greater happiness. The story has a sense of myth, fantasy, and fairytale about it that leaves the viewer with a feeling of personal satisfaction.

This is a film full of strong female performers. Judi Dench is especially wonderful as a curmudgeonly elderly woman estranged from her daughter and forbidden to see her grandson. Juliette Binoche does a fine job as the heroine. She is as fragile and seductive as Monroe in some scenes and as forceful and independent as Bacall in others. Lena Olin is wonderful as the abused wife who rises from the confusion and ashes of her own ruined personality like a phoenix under the influence of the heroine.

This is one of the best movies I've seen in a ling while, and I expect to order and read the book upon which it was based--something I rarely do.

Joanne Harris, the writer of the novel, Chocolat, is apparently a confectionery genius, for this story leaves a wonderful taste in your mouth. Although I have not read the novel, the movie is delightfully rich and creamy.

Vianne (Juliette Binoche) is a "chocolatier extraordinaire," having the best chocolate in all of France and possibly the entire world. She and daughter, Anouk, set up shop in a small French village rife with religious zealots led by the mayor, Comte de Reynaud (Alfred Molina), who is intent on keeping the town chocolate-less. It is the timeless game of religious piety versus sincere brotherly love as portrayed in the lead characters.

Vianne seeks to sweeten the lives of the villagers in town with her secret panacea, especially the religious rejects like Armande Voizin (Judi Dench). She is a crusty old woman, the antipathy of her daughter, forbidden to see her own grandson living in town. Moreover, there is an abused wife (Lena Olin), who finds refuge from her husband, not in the church, but in the chocolate shop. And finally, if this is not enough to drive a group of religious fundamentalists insane, there is Roux (Johnny Depp), a member of the River Rats, a nomadic tribe of gypsies, who develops an interest in Vianne. What will become of this little village? Will chocolate win out in the end, or will the town remain a traditional vanilla?

Binoche is sweeter than chocolate in the lead role, and equally impressive is Molina in his role as the mayor. Judi Dench and Lena Olin put in outstanding performances in their supporting roles as well.

This is a movie with substance, dealing with societal issues; and furthermore, showing the power of human kindness and tolerance for those with differing lifestyles. This one melts in your mouth, not in your hand.

Buy Chocolat (2011) Now

"Chocolat" tells a fable-like story of a young single mother (played by Juliette Binoche) who, with her young daughter, drifts into a small French village in the mid-20th century. She sets up a chocolate shop, but her efforts to bring some fun to the repressed villagers bring her into conflict with the town's tyrannical mayor (well played by Alfred Molina).

"Chocolat" is beautiful to see and hear. The fanciful sets and the playful score by Rachel Portman enhance the fairy tale atmosphere of the story. Although there are some unsatisfying loose threads in the script, the story as a whole is delightful. And while the film's message--about the importance of tolerance--may be a bit obvious, it's still worth thinking about.

Director Lasse Hallstrom showed his skill at handling a large ensemble cast in "the Cider House Rules," and he does an equally satisfying job here. And what a cast! Juliette Binoche is excellent in the lead role; both elegant and earthy, she is an enthralling screen presence. The great Judi Dench sinks her teeth into a supporting role as a grouchy landlady who has a tender spot for her young grandson. Johnny Depp is charming as Binoche's love interest, and Hugh O'Conor is absolutely delightful as the baby-faced village priest who secretly loves the music of Elvis.

To sum up, "Chocolat" is an appealing comedy-drama with some real touches of magic.

Read Best Reviews of Chocolat (2011) Here

First big suprise with this film was that it was filmed in English language, not French, so there are no subtitles. I've read that more and more movies are being shot in the English language simply because the potential box office profit is so much huger. Put simply, this is a delightful film which many critics are probably grading downwards because it is "just" a simple story that is simply (but beautifully) told. I am hardly ready to number myself among them! Lasse Hallestrom, who first distinguished himself with the marvelous "My Life As A Dog," knows his way around a film script and with actors and it shows. Playing much like a fable or fairy tale, Juliette Binoche is a woman, Vianne, who wanders from place to place with her daughter, Anouk, setting up shop as a chocolatier. This time she sets up shop in a peaceful French village in the winter of 1959. Delightful as the love story portion is with the river rat, Gypsy-like Johnny Depp, it is the hilarious war waged on Binoche by the town's mayor, played by Alfred Molina, who will reduce you to complete gut-busting laughter. His wife left him and his inability to deal with that fact fuels a lot of his animosity towards Vianne and the general air of sensual repression he wishes to foster in the village. All of the villagers are delightful characters and Binoche is pulled into relationships with them. If you need to brighten up your day, this is the movie to get.

Want Chocolat (2011) Discount?

(2008 HOLIDAY TEAM)This adaptation of Joanne Harris's novel lacks the seductive charm and magic of the original, but it succeeds on its own as a quiet film about a French village rife with personal crises. When the mysterious Vianne (Juliette Binoche) and her daughter Anouk (Victoire Thivisol), dressed in red capes, arrive in town on a day the wind from the North gusts open the church doors, interrupting the sermon on the first day of Lent, something begins to stir. The pious mayor (Alfred Molina) knows it better than anyone. Vianne opens a chocolaterie, serving up exotic confections designed to bring out the best in people, and relationships in the grim town shift. Vianne seems immune to her own magic until a band of gypsies and their leader Roux (Johnny Depp) set up camp on the edge of town.

Director Lasse Hallstrom excels in his evocation of a small French village in 1959 and the people inhabiting it. Despite its Swedish director, British author, and international cast, this film feels authentically French. Its rhythms are mostly gentle, and its focus is on character rather than an intricate plot. Juliette Binoche turns in a fine performance, even though her smile at times seems too vapid and easy for such a complicated character. Judi Dench makes a memorable appearance as Vianne's landlady, a crotchety but spirited old woman who is estranged from her uptight daughter (Carrie-Anne Moss) and her grandson. John Wood and Lena Olin also turn in strong supporting roles.

Art house film addicts will want to see this, but more mainstream viewers may be bored. Recommended for viewers who enjoy the leisurely unfolding of a quiet drama.

Save 33% Off

To Die For (1995)

If you would like to see a really great performance by Nicole Kidman, pick up a copy of "To Die For" at your local video store. Directed by Gus Van Sant, screenplay by Buck Henry from the book by Joyce Maynard (both Henry and Maynard have bit parts in the film), "To Die For" is a wicked little gem of a film.

Kidman won the Golden Globe award for Best Actress for her performance, and frankly I thought she should have gotten the Academy Award (unless I remember incorrectly, I don't think she was even nominated for an Academy Award for it). But she is absolutely brilliant in it: chilling, funny, scary, sexy, and horrifically evil.

Kidman portrays Suzanne Stone-Maretto: a devious, calculating, self-centered woman who manipulates Larry Maretto (a very sympathetic performance by Matt Dillon) into marrying her, quickly tires of him when he tries to stand in her way of her greatest ambition in life, which is to be the next Diane Sawyer, and soon convinces her teenage lover to kill him for her. Sound familiar? "To Die For" was loosely based on the real-life story of Pamela Smart, who seduced her 15-year old lover into murdering her husband.

Joaquin Phoenix is Jimmy Emmett, the hapless student who becomes Suzanne's lover; Lydia Mertz is Alison Follard, a young girl who idolizes her; and Casey Affleck is Russel Hines, another student who gets caught up in the scheme. Illeana Douglas is great as Larry's acidic, loving sister Janice, who also gets one of the best lines in the film, and at the very beginning, no less; and Dan Hedaya is Larry's father, Joe Maretto. Dan Hedaya is a master of the "Believe me, you don't want to see me mad" performance, with obvious menace just under a calm surface. The casting is great, and the performances are all right on target.

Look for uncredited cameos by George Segal as a conference speaker, and David Cronenberg as...you'll just have to go see it.

Nothing like a little dark humor and feminine fangs to make a mash of the culture driven by 15-minutes-of-fame. In this case, a riveting Nicole Kidman as a perky, self-obsessed suburban nutcase who has big dreams of finding fame and fortune, even at the expense of her husband.

Directed by Gus Van Sant in his usual cobbled-together manner (hoary, quasi-documentary devices to propel the screenplay, regular flashbacks, direct-to-the-camera diction, etc..) based on Buck Henry's trippy adaptation of a novel by the same name. The result is a pleasantly watchable movie that moves quickly and keeps you guessing the limits to which our protagonist would limp to achieve her ambitious goals.

I felt that the premise, beyond its chirpy surface, is quite thought-provoking. If our perky weather reporter were to be successful in her quest then we could believe that total dedication to a quest is admirable and ultimately rewarded -regardless of the means employed. Can we condone murder though? Perhaps we are offered a tongue-in-cheek hyperbole that extremes are necessary if we are to escape our station in life.

This movie apart from amusing you will surely leave you with something to savor, not just off its theme but from the brilliant supporting performances of Casey Affleck, Matt Dillon and especially Joaquin Phoenix.

Recommended rental.

Buy To Die For (1995) Now

To Die For is an excellent, detailed portrait of a female narcissist. This movie is no comedy. If you ever have the great misfortune of tangling with one of these psychopaths, trust me, you WONT be laughing.

Nicole Kidman plays Suzanne Stone, the girl who grows up as the center of her family's never-ending attention, the Golden Child Who Can Do No Wrong. As life goes on, Suzanne hones her manipulation skills, and marries Larry (played by Matt Dillon), who reflects back to Suzanne the image of herself that she wants to believe and see. Perfect!

That is, until Larry demands that the marriage include him. In bed one morning soon after being wed, Larry wants to make love with Suzanne. She icily shoves his hand away saying "get your hands off me." She has to get ready for work, to "fix my face" for the world. It's performance time, and Suzanne is always on. Larry just doesn't get it. Their life is about HER, not them. When Larry broaches the topics of having children and her helping him out in the family restaurant business, Suzanne decides he has to go. This girl has global aspirations. She won't be marginalized with motherhood and a family business!

When Suzanne lands a job at a community TV station, she turns a small job fetching coffee and running errands into her role as the weather girl reporting from "The Weather Center." She soon executes one of her many grandiose schemes: making a documentary about high school teenagers in their natural habitat. Enter Joaquin Phoenix's character Jimmy Emmet, an introspective but deeply lost teenager who falls hard for Suzanne. She soon sexually manipulates Jimmy into doing her bidding, with promises of eternal love and "then we can always be together." Her blinding charisma engulfs Jimmy and friends Russel and Lydia, and of course she heartlessly kicks them all to the curb the instant she achieves her goal.

If you know anything about narcissism, you'll see all the high points in To Die For: grandiosity, complete disregard for the feelings of others, ice-cold manipulation, and lightning-fast betrayal once the narcissist has achieved her goal. You're seeing how a psychopath operates. If only the narcissists of the world found the same fate as Suzanne Stone. I strongly recommend To Die For.

Read Best Reviews of To Die For (1995) Here

If you like your humor smart, wicked, ironic, and served on a silver platter, this one's for you. Buck Henry wrote the screenplay, which should say plenty about the level of intelligence and sly wit at work here. Nicole Kidman gives the performance of a career as a woman who looks, acts, and dresses like a Barbie doll come to life. She has completely bought into the myth that, frankly, we all believe to one extent or another. That is, being on tv is a good thing and validates a person, makes that person more real than real. Her obsession to be a tv celebrity is like a narcotic for her.

Suzanne Stone lives in a fantasy land, imagining that her role as the weather lady on a local cable access tv station will somehow be a springboard for Babwa Wawa type notoriety. Watching her voracious, yet somehow sadly innocent, ambition is both funny and horrifying. Kidman plays it perfectly, never winking at the camera. The story, though based on actual events, is little more than a vehicle for many wonderful performances. Her husband, played with real comic skill by Matt Dillon, has to go, he's just in the way. The stoner, semi-goth high school students she enlists for the hit, including Joaquin Phoenix, are charmed and subservient, amazed that a celebrity would pay attention to them. (As we would be if Oprah asked us to wax her car, which we probably would, because we also believe that being on tv is a good and important thing.)

Other inspired performances include George Segal in a splendidly cynical cameo, succinctly summarizing tv business reality. Dan Hedaya, who must get his 5:00 shadow somewhere around 9:47 a.m., is just right as the guy who settles the score. But the real sleeper is Illeana Douglas, narrator and Ms. Stone's sister-in-law. She smells a rat long before anyone else, and her wise-acre sarcastic delivery is terrific, especially as she gracefully skates over the evidence. That's cold!

Van Sant is a very interesting director. Drugstore Cowboy was as fascinating as it was disturbing. Elephant offered an amazing look at Columbine through the other end of the lens. Finding Forrester, a tad trite and commercial, did have heart. Good Will Hunting, yikes, what did we do to deserve the twin monsters it loosed upon the landscape? Even Cowgirls Get The Blues, one of the best books ever becomes one of worst movies ever. My Own Private Idaho. This movie, featuring an unnerving performance by the late River Phoenix, was chilling, haunting, beautiful, and absolutely brilliant. Van Sant is certainly capable of greatness, and Kidman is also. In To Die For they are both at their absolute best.

Want To Die For (1995) Discount?

Nicole Kidman plays the perfect psychopath in TO DIE FOR. The psychopath is the one area of psychology that no one has a cure for. Psychopaths lack moral impulse. They not only don't have the vaguest idea of what right and wrong mean, but they also don't understand why other people can get all exercised about violations of right and wrong. Kidman in the movie doesn't murder because it's calculated and she can get away with it; she doesn't even think that far ahead. And that's what makes acting a role like this so blamed difficult. Kidman pulls it off in what I regard as one of the two greatest bravura female acting performances in the past quarter century. (The other is Kate Nelligan in the 1981 movie, EYE OF THE NEEDLE.) If only the screenplay were up to Kidman's level, it would shake five stars out of me. There's a little too much fussing about with the teenagers, and some scenes last too long. A good editing job could have trimmed ten or fifteen minutes out of this movie and made it one of Hollywood's all=time best. But, given what we have, if you watch it only for Kidman's incredible, incredible performance, you'll get a lot more than your money's worth.

Save 47% Off

Roadie (1980)

There is a lot of silly rubbish about this film scattered all over the Internet. Most of the time when I read a review of "Roadie" I wonder if the critic even bothered to see the film before they wrote about it (see above). Unlike most other critics, I have seen Roadie, and I promise--with certain reservations--that it is a very funny and very entertaining movie.

As an older man with a nervous disposition who has enough trouble sitting through many new movies once, The ultimate tribute I can give this great "on the road" rock'n'roll saga is that I watched it numerous times when it was on cable in 1981. Since then, I have watched it several dozens of times on VHS, and now that it's on DVD, I have watched it several times again. You can put a lot of mileage on this road movie. In a day when you build whole relationship with and around movies in your personal collection, that kind of stamina in a movie is critical.

The film has a rock'n'roll backdrop--a backdrop we rarely see from the workingman's eye the way we do here. There are no star turns in the film, at least none in the late 1970's early 1980's tradition. Rock is shown as hard work, and generally the product of blue collar hands (a view I agree with). The movie gives us what amounts to real-world views of several 70's favorites (Meatloaf, Alice Cooper, Blondie, etc.).

The movie has a great premise, the howling self-reliant "Everything Works If You Let It" theme. It also enjoys a background soundtrack that fires on all twelve cylinders. But what keeps me watching the film is that it is really funny in an honest, straight-forward way that we have enjoyed far too seldom since Hollywood started grinding out its cookie-cutter "farces" in the wake of "Airplane." The dual surprises of the film are the really solid performances put in by Alice Cooper and Meatloaf in their respective roles as rock star and roadie. I am unqualified in my admiration of this movie, but I will tightly qualify the people to whom I would suggest the film. This is a "cult" movie in the most real sense of the word and anyone who is made nervous by rock music, farce that is outside of the "Scary Movie"/"Naked Gun" mainstream, or three-hundred pound leading men (Meatloaf) should avoid this movie at all costs. Also, there is a certain good ol' boy mentality at work here that will not play for some parts of the audience. But to the core audience of the film, these are not qualifications, they are recommendations. The thing I am saddest about is that the movie's soundtrack is no longer available. The soundtrack was worth having simply for the long and messy "Brainlock" which plays during one of the few really funny car chases in the history of film.

Of course Meatloaf is the bomb, and you want to believe in the reality of his character, the astoundingly competent Travis W. Redfish. Sadly, there is no Redfish in the real world, but you'll wish there was, and there probably should be.

Art Carney plays Daddy Redfish, and steals every scene in which he appears. Alice Cooper plays himself (as always) and is great. In fact, all the walk-ons and cameos are amazing.

But the amazing presence in the film is Kaki Hunter's portrayal of Lola Bouillabaisse. The Lola character is a train wreck, a disaster area, a four alarm fire. She is our worst nightmare on a blind date, but the screenplay needs her to be that disaster. If Lola had been played by a different kind of female, or had she been played as an attractive girl, the part, and probably the film would have been ruined. Hunter actually holds her own against her mighty co-stars in the film. She is amazing.

Note: a movie that is equally funny and from the same time period, and sharing roughly the same theme is Roger Corman's "Rock and Roll High School."

Whoa-boy. ROADIE isn't a five-star flick by any stretch of the imagination (save that of starry-eyed fan-atics, who're no doubt clicking No with some vehemence right about now). Every one of the three stars are worthy, however, and I snapped up this DVD with all haste because the film IS a campy, rollicking, fun little tale. Meat Loaf is a charmer as Travis W. Redfish, cuddly and sweet, inventive and wise, a memorable character in even his head-butting, brain-locking, ox-like other side. Kaki Hunter is less memorable as Lola Bouilliabase, though often just as sweetly naive as anyone who's had a brush with fan obsession (y'all CAN click Yes later on and change your vote, if you didn't know). Completing the Redfish clan, Art Carney is a hoot and Rhonda Bates purely delightful. Watch for Kurkwood Smith in a bit part.

A no-frills DVD package. The feature cleaned up nicely, but the original trailer shows wear. The Dolby 5.1 audio was a surprise, though, and plays well front and back.

ROADIE is a guilty pleasure, but such camp was fun sharing with unsuspecting friends -we laughed 'til we cried. Chair dancing, the distinctive rattle of a beer truck, narcs snorting Tide. Some odd remembrances, too, of the brouhaha over cancelling concerts for energy conservation, often believed an excuse for censorship. Oddly enough, there's little or no swearing in ROADIE; Lola's quest for deflowering and a little substance abuse (and perhaps the close-up of Alice Cooper's codpiece) earned the PG rating.

"Everything works if you let it," a worthy sentiment.

Buy Roadie (1980) Now

This is one of the funniest movies I've ever seen. A great cast: Meatloaf, Khaki Hunter, Art Carney, Jos Spano, Alice Cooper, Hank Williams Jr., Roy Orbison, Don Cornelius, etc. Great musical performances by Blondie, duet of Hank Jr. & Roy, Blondie, Asleep At The Wheel. Some of the greatest lines of all time. Story gets a little trippy but makes sense and one of the all-time strangest endings. If you are a 70s rock and roll fan, this is the movie for you.

Read Best Reviews of Roadie (1980) Here

From the ambulatory phone booth to a candlelight dinner with The Snake, this just tickled my funny bone. Art Carney was great, and I loved Meat Loaf as the star-crossed lover. Yes, it's cheap, yes, it's campy, but I have been looking for the damn thing for like 20 years, and I am SO happy they finally re-released it. For years all I had was the soundtrack, which is quite goodlook at all the musicians in the darn movie! Ooohhh, I'm drivin' my life away....

Want Roadie (1980) Discount?

For it's time, Roadie is a great movie in itself. it's funny, sexy, and filled with alot of classic rock. Great cammeo's by Hank Williams Jr. and Roy Orbison to name a couple. Jr. sings Outlaw Women at a bar Redfish (Meat Loaf) set's up at.

The story is Hank Williams Jr.'s road crew breaks down on the side of a Texas road. A pretty woman hitching a ride steps out and catch's Redfish's eye. Two numb skulls diving the truck has no clue what's wrong. When Redfish offers to help, Lola (the pretty woman) talks him in to helping set up Hank Willims Jr. Soon after that Redfish becomes the best at what he does or what he has became a (roadie) but all Redfish is after is Lola and all Lola is ater is Alice Cooper.

I sew this movie on T.V. a long time ago and liked it alot and I was wantting to see it again. Still a great movie

Save 10% Off

The Notebook (Limited Edition Gift Set) (2008)

THE NOTEBOOK has long been my favorite of Nicholas Sparks' many books, so it is a happy surprise to me that the wonderful story transferred to the big screen with all the sweetness, warmth, and tenderness that made the book a runaway best seller.

The best part of this movie was the incredible chemistry between Rachel McAdams and Ryan Gosling as the young lovers Allie and Noah. Their story was told by an elderly couple in a nursing home. James Garner and Gena Rowlands were outstanding as the devoted "Duke" and the woman with irreversible dementia. As Duke recounted the story of Allie and Noah from the notebook he carried with him, the lady's memory began to come back and she could remember.

The movie always changes the book but the one major change (the ending) which had the audience letting out a collective gasp and reaching for the nearest tissue was, in my opinion, really good even if it was pure Hollywood melodrama.

Why does a movie like THE NOTEBOOK appeal to so many? Is it that every woman longs for a man who loves as deeply as Noah? Is it that every one wants a love that transcends all problems---those of class, education, family objection----and lasts forever? Or just maybe in a world of high-tech gizmos and high security alerts, it's nice to get back to basics with a really good love story....and this is definitely that.

THE NOTEBOOK is an old-fashioned love story with the topical subject of Alzheimer's Disease thrown in to heighten the Hankie Factor.

The film opens in the present at a genteel, riverside, Southern facility for the long-term care of the aged. An old man, "Duke" (James Garner), is in the habit of reading from a book to an elegant, but chronically confused and distant, lady (Gena Rowlands) of equal antiquity. The story concerns two teenagers during a hot, carefree, South Carolina summer preceding World War II. They are (in extended flashback) Noah Calhoun (Ryan Gosling) and Allie (Rachel McAdams).

Noah, working in the local sawmill, is the uneducated son of a dirt-poor father (Sam Shephard). Allie, in these months before she's off to a prestigious New York college, is the only daughter of snobbishly wealthy parents, John (David Thornton) and Anne (Joan Allen) Hamilton.

The book's plot is that hoary one about two young lovers of disparate backgrounds and financial resources, who are subsequently separated by circumstances, objection and obstruction by the wealthy parents, and the subsequent engagement of one to another in this case, Allie to a devilishly handsome and perfectly decent, rich, young, Army officer wounded during WWII, whom she meets while serving as a volunteer nurse in a Stateside military hospital. Will Noah and Allie ever get back together? That's what Duke's lone listener wants to know.

At midpoint point in this review, and midway through the film, it should be apparent that Duke and his lady friend are Noah and Allie in the winter of their lives. The latter is now suffering from Alzheimer's and only occasionally recognizes her husband, who reads her the story of their courtship over and over in the hope of stimulating her memory.

THE NOTEBOOK is an engaging love story that even Guys might enjoy. I did. James Garner is one of the most beloved screen veterans, and Ryan Gosling as Noah's younger self is totally likable. McAdams as Allie is effervescent and positively radiant. As a period piece, i.e. that part taking place before and immediately after the war, it's sumptuously photographed with contemporary costumes, hairstyles, music, and lots of vintage automobiles. And the sequence shot in the sunken forest amidst the migrating waterfowl was breathtaking in its beauty.

The film does stumble occasionally. While Joan Allen is superb as the witch mother you love to hate, at least until she reveals a secret of her own late in the movie, the John Hamilton character is a virtual non-entity. And I didn't believe his moustache for a second. (It reminded me of the beards in the Civil War epic GETTYSBURG.) Then, in a very brief sequence showing Noah off at war with Patton's Third Army, he barely bats an eye when his best friend is killed. What was that all about? Finally, the Hollywood ending, written by a screenwriter who must have wet him/herself out of giddiness in the melodrama of the moment, was absurd. Under the circumstances, such a passing is a good trick if one can pull it off, but it's sadly not the case, I fear, for most people in Real Life. Just ask Nancy Reagan.

I doubt that THE NOTEBOOK will receive any Oscar nominations, except for perhaps adapted screenplay (from the novel). But the admission price is still money well spent if you're weary of special FX-laden silliness and you want to see a couple of aging pros, Garner and Rowlands, before they, too, leave us. And girls, take an entire box of Kleenex.

Buy The Notebook (Limited Edition Gift Set) (2008) Now

This screen adaptation of Nicholas Sparks' bestseller is a deeply emotional story of young love, the process of maturity, the crucial choices in our lives, and the frailty of old age. I have not read the book, and thus cannot comment upon the fealty of this film to Sparks' manuscript, but its emotional tone and import is certainly consistent with his other works with which I am familiar. In the opening scene we meet Duke (James Garner), who resides in a nursing home and apparently spends most of his time befriending another resident there, Allie Calhoun (Gena Rowlands), who is captivated by a 1940's story of young love which he reads in installments to her from THE NOTEBOOK which is his constant companion. Allie is suffering from some variety of dementia and these interludes provide some small comfort to an otherwise apparently colorless and bland existence.

The moviegoer is then transported to the 1940's, and the relatively brief appearances of the elderly Duke's and Allie alternate within the film with the enactment of the story contained in THE NOTEBOOK. That story is centered in Seabrook, N.C., where a local young man named Noah Calhoun (Ryan Gosling) is captivated by a beautiful summer visitor from Charleston named Allie Hamilton (Rachel McAdams). (Of course, the viewer immediately wonders if indeed this notebook contains the story of the elderly Allie's life, and if so what part Duke will play.) As you no doubt have guessed, since this is an old fashioned romance they eventually fall in love. The relationship is eventually ended by Allie's mother Anne (wonderfully played by Joan Allen), who, in order to separate her society daughter from the local boy whose career aspirations are success in the local lumberyard, forces an early family return to Charleston to prepare for Allie's freshman year at college. (Do not judge Anne Hamilton too early in this film, however!)

The war years intervene, and Noah, with the help of his poetry loving small town father Frank (Sam Shepard) who has taught him to appreciate the beauty of Walt Whitman's work, withdraws into himself and concentrates on the restoration of the tumbledown waterfront mansion that he had once hoped to share with Allie. Meanwhile, she meets and gradually becomes attracted to a wounded veteran, Lon ( James Marsden); since he is both handsome and rich their eventual marriage seems preordained. However, fate intervenes with a wonderfully deft touch and suddenly the lives of Allie and Noah intersect again. We then watch as Allie is forced to decide whether someone can recapture their past or if only the memories remain after the fork in the road has been taken? Her dilemma is clear, Lon is the apparent right choice, yet her wonderful interlude with Noah never had a proper conclusion.

This is a movie to attend when you want to bathe in your sentimentality, yet there are enough bittersweet moments to keep the viewer from being overwhelmed by the sickly sweetness that often is the result of such cinematic ventures. The acting is excellent, the story is told with restraint, and the cinematography is wonderful. My favorite visual scene was when Noah takes Allie out in a boat on the lake to his secret spot with all the swans; I found it breathtakingly beautiful. Interestingly enough, despite the film's two hour length most of the audience stayed in their seats talking or contemplating the conclusion when it ended and the credits rolled. Why not five stars? Two reasons, first, I am not sure that the movie quite achieves my usual criteria for that rating, wanting to own the DVD and view it multiple times. Second, I found the conclusion a little too contrived in an attempt to bring closure to both the characters and the audience. One final note, read the inscription on the flyleaf of THE NOTEBOOK carefully at the conclusion, it completely explains the origin and its power to entrance Allie.(...)

Read Best Reviews of The Notebook (Limited Edition Gift Set) (2008) Here

I got to see the sneak preview of this movie this past Saturday (6/12/04) and I absolutely loved it. I've seen Ryan Gosling on television before (Breaker High), but I hadn't seen Rachel McAdams until now. Their characters were so real and so believable. Even though the end may be predictable, this film lacks the typical structure of most romantic movies I've seen. It was interesting to see how the characters evolved and came together.

The film begins with James Garner reading pages out of a notebook to alzheimer(?) patient Gena Rowlands. As the story unfolds, we meet Allie and Noah. Allie comes from a wealthy Southern family. Noah works in the lumber yard. We see their joys as well as their struggles. Though they seem like complete opposites, they fall in love only to be torn apart when Noah leaves for World War 2 and Allie becomes engaged to another man.

I won't spoil the ending, but the two lovers reunite and Allie is faced with the decision of whether to keep her promise to her fiance or to go back to the man she left behind.

Want The Notebook (Limited Edition Gift Set) (2008) Discount?

Everyone has different reasons for watching movies. There are ones with violence, ones with romance, ones with mystery, and ones with deep meaning. You sometimes pay for a movie not knowing what you will get to see. I didn't know anything about The Notebook prior to walking into the movie theatre. All I knew is I wanted something nice.

I sat in a mostly full theatre watching this movie. Watching these actors that have been on screen many times before, watching them tell a story. Nothing struck me more than just how this was life. There was a story, one about love, but real love. The kind I watched my grandparents share and when I said my wedding vows I knew I wanted for myself. The colors in this movie, the sentiments, the feeling swept through me like I was there. I finished watching this movie with tears falling down my cheeks. Embarrassed, I looked around for a way to duck out before anybody thought I was a foolish woman for crying. But everyone else in the theatre was crying too. Even the men were wiping tears from their eyes. Husbands held their wives and girlfriends nodded in understanding. I knew then I was not alone. I haven't been so moved since watching Bridges of Madison County. I told my husband later I wish he had been there to see it. I said, everything I ever wanted out of my life with him was there, the good and the bad.

I anxiously awaited for this movie to come out on DVD and it seems now it's been postponed until February of 2005. I will have to wait longer to buy a copy of this movie...a movie I fell in love with one summer day.

Save 15% Off

The Big Picture (2010)

We've all experienced the desire to disappear. For whatever reason, we've entertained the idea of simply pulling up our stakes, packing it in, and vanishing from the face of the Earth or, more likely, those we know so well. No, that doesn't mean that we don't love them; nor does it even possibly imply we've done anything wrong. Life wears us down, and, occasionally, we long for escape. This reality only underscores the very human desire to sometimes merely assume a completely anonymous existence one devoid of greater meaning or purpose all with the hope of `fitting in' brand new.

However, if we had a legitimate reason to withdraw from the society of which we're a participant, there's certain a `right way' and a `wrong way' to go about it. What's chiefly on display in THE BIG PICTURE is a life lesson about the lesser risks and greater dangers of doing it without adequate preparation.

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and character. If you're the kind of person who prefers a review entirely spoiler-free, then I'd encourage you to skip down to the last two paragraphs for my final assessment. If, however, you're accepting of a few modest hints at `things to come,' then read on ...)

Paul Exben (played convincingly by Romain Duris) is a successful Parisian lawyer who's "living the dream" (or so he thought); his wife Sarah (Marina Foïs) and their two children have only started to wear on his real-world sensibilities, and his boss Anne (the lovely Catherine Deneuve, in too short an appearance) is about to retire from the business for medical reasons that would leave him completely in charge of the firm. However, Paul senses something isn't quite right at home. Realizing his wife is having an affair with their neighbor Greg a photojournalist with a carefree, unpredictable lifestyle the lawyer confronts the man. After Paul accidentally kills him, he assumes his identity and completely vanishes. The question remains: can he become someone new, or will he be forever haunted by his true past?

Based on a novel by Douglas Kennedy, THE BIG PICTURE is a lean and muscular exploration of the psychological dangers of creating a new identity, especially one tied to closely to elements of one's concealed biography. In reality, Paul ends up living two lives simultaneously the one he's suppressing (his own) as well as the one he's stolen (Greg's). The script smartly achieves a balance between truth and deceit when it becomes clear that circumstances are spiraling out of control despite the man's best efforts to keep them `under his thumb,' and, if he's not careful, Paul will ruin not only his own life but also those he comes into contact with forever.

Also, there's a brilliant visual metaphor at the heart of PICTURE, and that's the fact that both Paul and Greg shared a singular fascination: photography. Whereas Greg's passions we never anything special, it's established fairly early on that Paul has great talent a true eye for detail and it's this personal obsession that drives him closer and closer to the brink of ruin. As we all know, a single picture is worth a thousand words; pictures tell stories not only those of the photographer and his (or her) subjects, but also, due to the nature that photos are highly interpretive as art, they inspire tales of the viewers. Therein lies the beauty of having our narrator in peril: he spends much of the second half of this picture snapping candid photos of people in real-life situations, all the while desperately trying to conceal the truth of his own.

As you may guess, this hobby ends up playing into Paul's unraveling, so much so that he finds himself on the run once more, this time facing even greater peril. Odds are, PICTURE may not go where you expected, but, once it arrives, it still presents a sight to behold. It's filled with some nice performances even from its lesser players as a modern-day fairy tale reminding us to think twice before we leap.

THE BIG PICTURE is produced by Europa Corp., TF1 Films Production, CiBy 2000, Canal+, CineCinema, and Cofinova 6. DVD distribution (stateside) is being handled through MPI Pictures. For those of you needing to know, this is a French-language picture with English-subtitles; if foreign films are not always to your tastes, I'd still give this one a spin if it interests you as the second half of the flick has a great amount of English-spoken scenes (won't spoil it more than that). As for the technical specifications, the film looks and sounds tremendous. Additionally, I'd be remiss in my duties if I didn't mention that the film was nominated for the `Best Adapted Screenplay' Award at the 2011 Cesar Awards (France). Lastly as is often the case with imports there are no special features to speak of.

HIGHLY RECOMMENDED. Much of THE BIG PICTURE plays out relatively slowly. Paul's story the state of his personal and professional affairs takes some time to establish in the first half. Some might call it slow; I prefer to call it `reflective' and `French.' But, once the stakes are raised, it's clear that he's only one option left: run. He does the unimaginable he abandons a cherished existence, even one that'll require some re-invention, all in favor of salvaging what's left of his family and hoping to start anew elsewhere. The problem remains that who we are is never quite far from how we live, and there's risk waiting for him around every corner.

In the interests of fairness, I'm pleased to disclose that the fine folks at MPI Home Video provided me with an advance DVD screener copy of THE BIG PICTURE by request for the expressed purposes of completing this review.

Truthfully, I would watch Romain Duris in just about anything. When you add the great Catherine Deneuve and promise me a twisty thriller, I'm in absolute heaven. Once again, though, I've been fooled by the marketing of the French film "The Big Picture." The movie certainly employs elements that might effectively be utilized in a thriller, but suspense is not the primary aim of the film's screenplay. The critical blurbs reference both Patricia Highsmith (for obvious reasons that I won't discuss in any depth) and Alfred Hitchcock, and perhaps the first half of the movie steers you in that direction. But the principle themes developed in the more languid second half (a huge stretch of the movie is virtually wordless) are more in line with an introspective character study. When situations force Duris to embrace a new path in life, he comes to understand just what was lacking in the past. It's an interesting notion, handled quite well.

Duris plays a successful lawyer with a seemingly perfect life. He has wealth, high profile clients, a business partner who wants to put him in charge, two cute kids, and a supportive wife. To all appearances, he is living the dream. But the veneer of normalcy and happiness starts to crumble when he becomes suspicious that his wife is discontent. Even as he struggles to rebuild intimacy, he doesn't want to face the evidence in front of him. When unexpected tragedy strikes, however, he is thrust headfirst into a nightmare from which there may be no escape. But a careful plan sets him on a new course. And in the least likely way, he will begin to understand just what is important in life and learn to become the man he was meant to be. But his grasp on this new realization is tenuous as well. Can he hold on? And should he?

Duris, all shaggy hair and sullen looks, is terrific here. The movie is basically divided into two distinct sections with different demands, and Duris balances the needs of each part perfectly. Deneuve, however, doesn't have much to do in a cameo as Duris' boss and friend. If you don't come to "The Big Picture" expecting nail biting suspense, mystery and action--there is a lot to recommend the film. My suggestion, though, is NOT to read the movie's description or any of the Blu-ray/DVD case. They give away all the film's major surprises. "The Big Picture" should best be appreciated by letting it unfold at its own pace, with little to no expectations. It has some pivotal moments and plot points that are completely ruined by its own marketing. KGHarris, 3/13.

Buy The Big Picture (2010) Now

Paul Exben (Roman Duris) has it all, a lovely wife, great job, bags of cash, great home and yet he seems a bit insecure. Catherine Deneuve plays his boss Anne, she has a terminal illness and is about to leave her controlling share in the company to him. So he is about to gain even more albeit with the loss of a caring friend.

He loves his two children and put on acts of capriciousness to endear him to them, which seems to have the opposite effect on his wife. Then he starts to notice subtle changes in his wife's behaviour; Sarah (Maria Fois) seems to be on a short fuse when ever he is around and more relaxed around a certain other man. This man is a jobbing photographer Gregoire; Paul is a rich amateur who had once held ambitions of being a good photographer himself once upon a time.

Then her sudden new taste for New Zealand `Cloudy Bay' and long lunch engagement gets him more suspicious. Things come to a head at a dinner party where one sauvignon blanc too many leads him to act the oaf. The following day spur of the moment decision start a series of events that even `The A Team' would be hard pushed to put right.

This is a well crafted drama with an under lying current of tension that lends more to a thriller than a life tale. The ever presence of photography runs through out and acts like a thread tying all the disparate parts of the story together.

It is beautifully shot too, with some almost iconic shots and great use of scenery and space. The acting is all well above average and Roman Duris does a particularly good performance. Director Eric Lartigan has made a beautifully filmed, challengingly framed and original piece of cinema. Some may find the plot a bit of a stretch, but it is dealing with a situation that few people would ever find them selves in and I found it very entertaining.

Read Best Reviews of The Big Picture (2010) Here

"The Big Picture" ("L'homme qui voulait vivre sa vie") is a French adaptation of the book by American novelist Douglas Kennedy. Paul Exben (Romain Duris) is a high-priced Parisian lawyer married to Sarah (Marina Foïs), with two young children and a posh home in the suburbs. Paul gave up his passion, photography, to make money in the family law firm, now owned primarily by Anne (Catherine Deneuve), a friend of his deceased parents. But Anne has given Paul some bad news, and Sarah is increasingly disinterested in her husband since he adopted a pragmatic approach to life. Just as Paul tries to rekindle their stale relationship, he suspects that Sarah may be having an affair with a local photographer Grégoire Kremer (Eric Ruf). When an accident changes everything, Paul decides to pursue a new life, reluctantly but also with a sense of recapturing the freedom he lost.

There isn't anything particularly bad about "The Big Picture". There just isn't anything interesting either. I've seen this plot too many times before. I had a sense of déja vu while watching it. There is a twist toward the end, but the writers drop the ball and cop out on the ending. The situation with Anne feels contrived and is superfluous to the story. I didn't buy the hotshot lawyer with a permanent 5 o'clock shadow and responsibilities that seem limited to babysitting a trust fund baby with a video game addiction. As for the main plot points, the film tries too hard to make petty problems out to be serious existential crises. One might argue that Paul has real problems after the accident, but not before. Mostly it's just predictable and mediocre. Mostly in French with optional English, English SDH, and Spanish subtitles. The MPI 2013 DVD includes a theatrical trailer (2 min).

Want The Big Picture (2010) Discount?

I bought this movie exclusively on trailers that I saw of it. It has turned out to be far, far more than I expected and also introduced me to another French actor who I will be looking to see more of.

An affair, by Paul's wife, is the catalyst for what is to come: a jealous rage, that turns into murder, which breaks up a family and plunges him into a life of lies and hiding. His talent as a photographer, which he had put on the back burner for more job security (being a lawyer in Paris), is forced out into the open as a man in hiding. It is heartbreaking to see him leave his children behind, not wanting them to grow up being known as the sons of a murderer. He fakes his own death trying to close that life he left.

But his talent is undeniable... and he finds himself in a impossible situation when the man he befriends causes his photographs to be seen by a gallery owner. She recognizes his talent and does a show for him... with one alarming problem: people want to SEE the photographer. Knowing he cannot do that, he is forced to flee again and books passage on a cargo ship. When he witnesses a cruel incident aboard ship, and takes the pictures to document everything, he is thrown overboard, in the middle of the ocean, along with the stowaways. His life and one of the stowaways is saved by a member of the crew, who, unwilling to let him drown, throws a life raft overboard. When they reach land, he sends the surviving man into town with his film & he takes the pictures to a local news agency... thus bringing light to what happened to them... and what became of so many others.

While he deserves to be punished for the crime he committed, I feel, even though he is still in hiding, he has earned the right to a new life.

Save 17% Off

UFC: Best of 2010 (2010)

UFC 108 January 2

Cole Miller vs. Dan Lauzon

UFC Fight Night 20 January 11

Evan Dunham vs. Efrain Escudero

UFC 110 February 21

George Sotiropoulos vs. Joe Stevenson

John Hathaway vs. Diego Sanchez

Cain Velasquez vs. Antonio Rodrigo Nogueira

UFC Live 1 March 21

Junior dos Santos vs. Gabriel Gonzaga

Jon Jones vs. Brandon Vera

UFC 113 May 8

Matt Mitrione vs. Kimbo Slice

Lyoto Machida © vs. Mauricio Rua

UFC 114 May 29

Melvin Guillard vs. Waylon Lowe

Rashad Evans vs. Quinton Jackson

UFC 115 June 12

Carlos Condit vs. Rory MacDonald

Mirko Filipovic vs. Pat Barry

Rich Franklin vs. Chuck Liddell

UFC 116 July 3

Brendan Schaub vs. Chris Tuchscherer

Stephan Bonnar vs. Krzysztof Soszynski

Chris Leben vs. Yoshihiro Akiyama

Brock Lesnar © vs. Shane Carwin

UFC Live 2 August 1

Jon Jones vs. Vladimir Matyushenko

UFC 117 August 7

Stefan Struve vs. Christian Morecraft

Rick Story vs. Dustin Hazelett

Junior dos Santos vs. Roy Nelson

Anderson Silva © vs. Chael Sonnen

UFC 118 August 28

Randy Couture vs. James Toney

UFC Fight Night 22 September 15

Charles Oliveira vs. Efrain Escudero

UFC 119 September 25

C.B. Dollaway vs. Joe Doerksen

Sean Sherk vs. Evan Dunham

Chris Lytle vs. Matt Serra

UFC 120 October 16

Carlos Condit vs. Dan Hardy

UFC 121 October 23

Diego Sanchez vs. Paulo Thiago

Brock Lesnar © vs. Cain Velasquez

UFC 122 November 13

Dennis Siver vs. Andre Winner

UFC 123 November 20

George Sotiropoulos vs. Joe Lauzon

Phil Davis vs. Tim Boetsch

B.J. Penn vs. Matt Hughes

UFC 124 December 11

Sean Pierson vs. Matt Riddle

Jim Miller vs. Charles Oliveira

Georges St-Pierre © vs. Josh Koscheck

If any of you fans out there are feeling like I am lately and just a little disappointed with most Pay Per Views, this is a nice refreshment. It really picks all the most exciting fights of the year like Chris Leben and Akiyama and also segways lots of fights with brief recaps and reviews of significant things that happened during the year. There are also a ton of good fights on each bonus section of the DVD. Good stuff fight fans

Buy UFC: Best of 2010 (2010) Now

Unlike previous best of installments this one is more like a documentary of the year rather than just a compilation of complete fights. They do brief segments walking through the 2010 highlights of many fighters. It also includes over 30 complete fights.

Read Best Reviews of UFC: Best of 2010 (2010) Here

I was told it was good. Worth watching. It's worth getting for yourself or as a gift. Will order more.

Want UFC: Best of 2010 (2010) Discount?

Most of the best matches of matches of the year all on here can't get better than that. Anyone looking to get a good value for your money should check it out.

Save 40% Off

Flight of the Intruder (1991)

Yeah, yeah... I agree with many other viewers. The movie storyline is not as good as in the book in two areas: 1. the in-depth description of its characters -I guess it's just too hard a job to explore the complexity of human personalities within 90mn; 2. the ending which, in the book, is a bit more in line with the actual war in Vietnam.

And also, that's true that the special effects are somewhat dated now...

But boy, being a professional of aviation, living, breathing, dreaming of it every day of my life, I can't applaude enough to the fact of being able to watch a movie that DOES feature combat aircraft! Just count the number of good action movies that actually show these machines, and I bet you'll be able to count them on the fingers of, say, 2 hands. That's just to stay on the optimistic side of things.

Flight of the Intruder is a real cool movie in terms of aircraft footage. You are "behind the wheel", at times you are literally in control of the aircraft. Your heart pumps faster when this ugly looking -and soundingSAM detection signal flashes to and screams at the crew. And watch these unforgettable scenes with the A-1 Skyraiders, the famous "Sandys" at the end of the film! The shots, the sounds... Everything contributes to raising the hair of your neck with passion!

The movie itself is pretty well documented too, if only a bit too simplified. Looks like the film was technically supported by both the Navy and the Air Force. The pilots' jargon is accurate, and so is the overall A-6 bombing philosophy.

And after viewing it, you'll sit back and start reflecting on it, and I'm pretty sure that you'll end telling yourself: "These fly-boys in Vietnam... They sure had real guts". Hats and heads down, ladies and gentlemen, and respect for courage!

This is the way it really was. I used to fly F4s of the Oriskany back in '66. Everyday (and most nights) I'd watch the A6s queueing up for takeoffs and traps. I flew with the best. This movie, even though there are a "few" technical problems, brings me back to those days almost 40 years ago.

I agree with the movie's major premis we could have won the war if the politicians kept their noses out of the running of the war.

Ignore all these arm-chair warriors and watch the movie. For the most part, it shows how it really was.

Buy Flight of the Intruder (1991) Now

This movie was great & most people have never even heard of it.

The movie is very accurate & shows what it was like to have piloted an A-6 during Nam. The movie is better than Top Gun because it has more action & it's realistic. This should be in all military buff's collection.

Read Best Reviews of Flight of the Intruder (1991) Here

This movie should have been better then Top Gun.

In everyones mind though we all want the speed and cockyness of

a fighter pilot.

But, as the line states,"Fighter pukes make movies, bomber pilots make history."

I believe that because this movie wasn't as big as Top Gun is

because there was a little love story in Intruder, that was not

as big Top Guns steamy love scenes.

This movie to me was better then Top Gun because of the absence

of a steamy romance, just a hint.

This movie, should be considered a classic.

Want Flight of the Intruder (1991) Discount?

I don't think this movie was intended to show what air combat is really like over the 'Nam, although Stephen Coonts, the author of the novel, "The Flight ofthe Intruder" did fly combat missions over vietnam. OK, Brad Johnson is a better pretty boy than actor and the FX can be cheesy but Dafoe is does his usual fine job and the story really picks up when he appears. This is the story of two guys who got fed up with risking their lives to bomb water buffalo and rice paddies and decided to take things into their on hands. Historically, the most amazing true fact depicted is that for political reasons the US allowed the North Vietnamese to have "safe areas" where they could stockpile weapons and equipment without fear of attack. This really happened in several different locations in the region. Hopefully we know better now. This is a story about doing the right thing even if it means breaking the rules, consequences, and redemption.

State of Grace

New York City's "Hell's Kitchen" is always a great setting for mob movies (for obvious reasons), and here it is used to perfection by director Phil Joanou. Add to that an impressive cast (Sean Penn, Ed Harris, Gary Oldman, Robin Wright, and John Turturro) plus wonderful music by one of the world's greatest composers, Ennio Morricone, and you've got a gripping character-driven mob story. By the way, has anyone noticed that Morricone's score for State of Grace is amazingly similar to his score for Oliver Stone's film U-Turn? Oh well, who cares, I love Morricone's music!

Terry Noonan (Sean Penn), an undercover cop, has just returned to his old Hell's Kitchen neighborhood. His goal: infiltrate Frankie Flannery's (Ed Harris) Irish mob and find enough evidence to put him and his murderous gang behind bars. But there's a problem, Frankie's younger brother Jackie (Gary Oldman) is an old close friend of Terry's, having grown up with him in the tough streets of Hell's Kitchen. Jackie is hot-tempered and is second-in-command with Frankie's mob, a fact that makes Terry's job much harder for him as time goes by. Terry's job becomes even harder when he begins seeing an old girlfriend (Robin Wright), who is the sister of Frankie and Jackie. Terry's love for her and his close bond with Jackie eventually leads to betrayal and murder, culminating in a bloody showdown between Terry and Frankie (and his mob) on a St. Patrick's Day.

Because this type of story has been overdone so much by Hollywood, the story is a little predictable. However, the top-notch cast puts a whole lot of energy and effort into the acting. Previously, I'd thought Ed Harris (with those fierce, piercing blue eyes) couldn't play a more unlikable character than the German sniper who kills a child in Enemy at the Gates, but as you'll see he's even more brutal in this well made thriller. Sean Penn and Robin Wright had great chemistry together and both delivered intense and convincing performances. Gary Oldman was very good at playing a psycho mobster, but maybe a little too extreme at times. Anyway, fans of mob movies will definitely enjoy this underated film. Highly recommended.

Phil Joanou had an incredible palette of talent to work with in creating this dark and troublesome work of art. Even the lesser parts are filled with personalities such as John Turturro, Robin Wright (then without the Penn), RD Call, John C. Reilly and Burgess Meredith. The score composed by Ennio Morricone has a haunting, eerie saunter, infected with an obvious full note that jerks you out of its hypnotic trance. Watching this film in 2005 takes one back to a number of other great and powerful films of the early 90's that used the noir anti-heroes as their central character. Comparing State of Grace to Abel Ferrara pieces such as Bad Lieutenant and King of New York would not be far-fetched.

Penn's performance as Terry is wrought with inner turmoil, culminating in his bedside confession to Wright's Kathleen. While explaining Hell's Kitchen and it's irk to Turturro he wanes "we're Irish, all we know how to do is drink," a telling testimony that typifies the culture soon to be taken over by the newly christened Clinton inner-city development. His inward reflection is mirrored by the exuberance of Jackie, played with perfection by Oldman. With his cavalier swagger he seems to lack the part of the genetic code that relays fear. Jackie takes risk to new levels while seriously jeopardizing older brother Frankie's (Harris) plans to form an alliance with elements of the Italian mob. Harris's taught composure throughout the film is a fine study in character definition; a true Jeckyl and Hyde persona, playing the suburban family man by day, and slitting the throats of childhood friends by night.

We've seen little in the form of feature offerings from Joanou, aside from U2's Rattle and Hum and Heaven's Prisoners. It is interesting to note his continuing contribution to U2's music video collection, as well as a number of TV commercials. His close association with the mega band lent a big break in acquiring music rights for his 2000 production Entropy.

Buy State of Grace Now

I think that this is one of the best movies ever made. The elegance of cinematography, a perfect performance of director Phil Joanu, a great casting (Sean Penn, Ed Harris, Gary Oldman, Robin Wright, John Turturo), a complex story, and a very fine ethical dilemma. All these components, in a equilibrated mix, with a perfect result: a masterpiece.

I triend to record it in several times from cable TV, but it's time is over 2 hours, and I forget it every time, and never had a complete record. Often, the TV version it was translatedd to spanish, losing a part of actor's performance.

I don't understand why the DVD wasn't released before 2005. I expected it long time ago.

Read Best Reviews of State of Grace Here

This is a great film about rival gangs in NYC's Hell's Kitchen neighborhood. Some of the later revelations are easy to pick up on early in the movie, but, all-in-all, it is very entertaining. Sean Penn is pretty convincing in his anguish over playing both sides. Of course, Gary Oldman is fabulous. When is that not the case? He is so charismatic that I sometimes cannot take my eyes off of him, even when he is not the central character in the scene. Of course, Ed Harris really makes you hate him in this movie, which, in my opinion, is a sign of a really great actor. This film is highly engrossing and entertainig. Give it a view. I watched it once and had to make it part of my collection.

Want State of Grace Discount?

Three visions ; three gazes , three generations , three points of view . The Yuppie Generation who live in The Kitchen's hell ; a police and a mobster .

The cop -Sean Penn is sent to New York and will meet again with his childhood friends but the life has invited them to complete the circle of the life .

A stunning film where the job , the feelings , the duty , the betray , the honour and the merciless violence intersect searing the screen. Full blooded film but filmed with superb good taste .

Arresting angle shots where you remember some bits of The Citizen Kane , superb illumination , and solid script make of this one of the three best mob films in 1990 with Goodfellas and Crossing Miller .

The cast is fine but Gary Oldman shines with the light of a Supernova in this case . His role is the most complex to follow due the multiple spirit states demanded .

Phil Joanou is a gifted director who should be kept in mind for next releases .

Trinity and Beyond - the Atomic Bomb Movie

If you are a Cold War history buff, or if you can still remember the days when you participated in those drop and cover bomb drills while going to school, then you must see "Trinity and Beyond" on DVD. Filmmaker Peter Kuran has meticulously weaved together previously classified government footage of the numerous atomic bomb tests which were conducted at the height of the Cold War. Many of these secret films were painstakingly restored to level fully compatable with the DVD format. The images of the bomb blasts exhibit a stark and shocking beauty as superheated gases and fallout expand into the atmosphere. Another unsettling segment shows a mannikin "Ozzie and Harriet" family in their home. They are completely decimated during a bomb test to determine the effects of nuclear warfare on the civilian population.

This documentary has a magnificent score performed by the Moscow Symphony Orchestra and is perfectly in-sync with the awe, beauty and destructive power of the atomic bomb blasts. The DVD version boasts a wealth of extra features for even the most die-hard DVD connoiseur. These extras include a fully interactive menu, a photo slide show, a separate CD track of the orchestral score, and even a 3D segment of an atomic explosion with 3D glasses included. After viewing the 3D segment, you may feel like taking a de-con shower!

The narration by William Shatner is both informational and unbiased. Despite the interviews with Dr. Edward Teller (Father of the H-bomb) and others, "Trinity and Beyond" leaves it to the viewers to decide the ingenius foresight or the foolish arrogance of the scientists and soldiers who have harnessed the energy of the atom. This movie is also a powerful reminder of our past history. How ironic it would be to repeat this chapter again, especially in light of recent allegations that China has stolen America's most secret nuclear weapon designs.

"Trinity and Beyond" is not just another dry documentary. If you have invested a small fortune into your home theater system and DVD player, then rest assured. This DVD version of "Trinity and Beyond" will make your investment pay-off handsomely. Get this DVD now...and prepare to RUN, DUCK and COVER!

Forget hollywood special effects, This movie has the most powerful images that i've ever seen. I never realized the full extent of the horrific testing that was done by the U.S. and other nations. This really is a historical documentary of the development of nuclear weapons, so don't expect much scientific analysis or explanation. But it is a very well-made documentary with comprehensive footage of the various military nuclear projects, interviews with the nuclear scientists, historical newsreels, and of course tons of footage of A-Bombs and H-Bombs being detonated all over the place (in the upper atmosphere, underground, underwater, shot out of a canon, etc.) I really can't say enough about this interesting and visually striking movie. The images are enough to put anyone in awe and fear. The soundtrack is also great, and it accompanies the horrific images very nicely.

Also, this DVD has some other nice features. The best is the short 3D movie, which explores one specific Nevada test site. I really liked this feature, It has some really cool footage which is even more striking in 3D. The photo slide show was also cool. The unedited bomb explosion wasn't that great, but it was alright. The total presentation of the DVD is certainly very nice, and the movie itself is simply amazing. I would highly recommend this product. 5 STARS!

Buy Trinity and Beyond - the Atomic Bomb Movie Now

I would just like to start off by saying that this is BY FAR the best documentary I have ever seen and probably ever will see. I ordered the DVD (You should too!!) right after I saw it. One thing to remember...no matter how much of an A-bomb maniac you might be, no matter the dozens of documentaries you've seen, YOU HAVE NOT SEEN THIS FOOTAGE. One and only declassified images and videos from dozens of nuclear research and detonations. The score mixes seemlessly with the images to take your breath away at the sight of the huge, towering, yet beautiful behemoth of the mushroom cloud. Includes surface, underground, low atmospheric, undersea, and high altitude detonations, including the one that disrupted radio communications for 8 hours and damaged electrical circuits with it's Electromagnetic Pulse. This film is not too scientific for ANYONE!! Buy it, watch it, and memorize it, but for heavens sake, learn from it too!! Don't ever forget it!! But then again, you won't want to!!!

Read Best Reviews of Trinity and Beyond - the Atomic Bomb Movie Here

"The Atomic Bomb Movie" is the most impressive, visually stunning and well-assembled film ever made on the history of the nuclear bomb and the various tests that followed after the end of World War 2. It is a documentary made with real passion for the subject, the information and visual records. This is obviously Peter Kuran's baby (listen to the commentary track where he speaks about the awakening of his interest in nuclear testing and the eventual production of this film with the awe and wonder of discovery), every aspect of his dedication to the project is evident in how much information he gives us, the detail in the assembly and most of all, in the painstaking restoration of old military footage documentating numerous tests. Visually this is one of the most incredible films you will ever see. One can only watch in astonishment at the size and destruction and yet beauty we find in the shots of tests ranging from Bikini island to even outer space. For many a lot of what the movie shows will be shockingly new (for me the biggest surprise was indeed the information about nuclear bombs being detonated in space). Kuran takes inside of the effects of a nuclear blast, so much as to show us exactly what an attack scenario would be like if you were inside your home and a bomb was dropped. And all this is done with incredible clarity, a lot of the old footage has been lovingly polished to a gloss and rarely do any images look old or scratchy. All this is framed with William Stromberg's rich, epic score that marches and pulses with great gusto. "The Atomic Bomb Movie" is that special kind of documentary that is perfect for classroom exhibition but also an awesome experience for normal home viewing. Kuran has done a service by assembling this film because it is important to preserve this information for future generations. In his commentary Kuran stresses the importance of not letting people forget about the history of nuclear testing, so it doesn't repeat itself. Do not miss this film, it is important and unforgettable.

Want Trinity and Beyond - the Atomic Bomb Movie Discount?

It is quite hard to rate this documentary. On the one hand the footage is cleaned up so well and the sound quality so fantastic. On the other hand the narration leaves you with so many unanswered questions. The movie is so matter of fact yet the issues, in reality, go to the very core of every human life.

I enjoyed watching the stunning visual display but would have liked less music to get a more real, and life like, feel of what it is like to be near an atomic blast.

Some of the unanswered, and unasked, questions would be what is currently known of the effects of all those tests, under water, under ground, high in the stratosphere, and just above ground? What kinds of radiation was released and how long does it last and how can it effect life today?

I am giving this documentary three stars but I still suggest it. I suggest it along with some other documentaries to fill in the gaps that this one leaves. The Atomic Cafe is a good place to start. No one beats the technical skill of this documentary however.

That Obscure Object of Desire (1977)

Oh, you devilish French people! What with all of your obsession with, well, obsession! Men and women constantly throwing themselves at one another! Sex, sultry sex, and more sensational sensual sex! How refreshing it is to come across a slightly older classic that shows not all of you young or old are constantly happily copulating with one another twenty-four hours a day, seven days a week! How delightful it is to discover that those rare few of you are doing little more than emotionally torturing the one you presumably love, once and for all proving that the rest of us may very well have a chance to stand toe-to-toe with you in matters of carnal conquest and rejection!

(Not that there's anything wrong with it ...)

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and characters. If you're the kind of reader who prefers a review entirely spoiler-free, then I'd encourage you to skip down to the last two paragraphs for my final assessment. If, however, you're accepting of a few modest hints at `things to come,' then read on ...)

THAT OBSCURE OBJECT OF DESIRE is the story of an older man named Mathieu (played by Fernando Rey) who becomes smitten with his new maid-servant, Conchita (played in alternating appearances by two actresses: Carole Bouquet and Angela Molina). Initially, she spurns his advances even runs from his affections only causing the man to be increasingly captivated by her. As their relationship grows (or does it?), the two continue a bizarre mating game, one that borders the lands of faithlessness and self-destruction, until there's nothing left for a possible happy union.

After watching the film, I had to do some research as, for the life of me, I couldn't figure out just what Spanish director Luis Bunuel (who also co-wrote this adaptation with Jean-Claude Carriere) was trying to say artistically in casting two separate women to play the same role. Over the course of the story, Bouquet and Molina appear interchangeably as Conchita for no particular rhyme or reason I could fathom. The best I've been able to ascertain is that Bunuel was a surrealist (an art form characterized by "subconscious or nonrational significance of imagery arrived at by ... the exploitation of ... unexpected juxtapositions"), the goal of which would appear to invoke a `dream state' under which one's conscious mind has no influence.

Well ...

The best this unschooled mind has been able to put together is that, by casting two different women, Bunuel hoped to keep the audience (and his characters) in a persistent state of flux where illogical emotion could wreck havoc on these people. Conchita regardless of who's playing her frequently uses her feminine charms to arouse Mathieu; but she regardless of who's playing her never gives in to him sexually. In fact, the close she comes so far as the film implies is that he allows him to lie partially naked with her in bed. When he proposes alternative ways of gratification, she spurns him further, shutting him out of his bedroom or even locking him out of the house.

Also, the two actresses are of different heritage Bouquet is as French as a woman can possibly be, while Molina is the more sultry Spanish beauty. This could imply that Mathieu's attraction either might or might not be related to cultural normalcy (i.e. dating or marrying within one's nationality). Certainly, the women are both attractive but possess markedly differing physical traits, also suggesting that perhaps there is no universal body type provoking man's desire.

The thrust of DESIRE would be to suggest that satisfaction isn't possibly attainable at least not for any measureable duration because there are no constants that can be added up in any magic formula to display sexual fulfillment. There are only variables variables which change from place to place, from person to person, even from time to time and, as such, lasting happiness will always be close enough to touch but never quite within man's reach.

Lastly, there's an odd juxtaposition of scenes in the film's climax that bear further exploration, as I believe they underscore whatever idea Bunuel was reaching to say with his final film. Mathieu and Conchita appear to have reconciled, and they're shown in an alley perusing windows of some small French shops. Together, they're drawn to one display where a delicate woman patiently mends a tear in an elaborate woven dress. Bunuel focuses on this scene for quite some time, and then we're shown our two leads up in the corner of the frame speaking with one another, but the audience no longer hears what they're saying (they're on the outside of the glass window pane). Are they speaking about the dress? Are they reflecting on their relationship? Are they debating stitching choices? Conchita frowns and walks away, then Mathieu frowns and follows, but in the last image we're shown an explosion (a radio report playing in the background discussed mounting terrorist attacks in the city only moments before) ... and that's the end.

What I suspect I could be wrong Bunuel was saying is that even when the process of mending is under way, there will always be elements that pull us apart, that force us in other directions. This would imply that we're never truly under control of ourselves or our existence that we're always subject to the randomness of life and perhaps this would imply that the pursuit of fleeting happiness is nothing more than the pursuit of fools.

The film isn't as depressing as it sounds, though it certainly teeters close. Psychologically, it's an interesting study of a very complex idea, though I would have to say it certainly isn't an idea for everyone. Scholars might find plenty to get excited over here, but Mathieu sure didn't. (Pun intended.)

THAT OBSCURE OBJECT OF DESIRE is produced by Greenwich Film Productions, Les Films Galaxie, and In-Cine Compañía Industrial Cinematográfica. DVD distribution is being handled by Lionsgate. As for the technical specifications, this Blu-ray release looks and sounds very good, though I experienced one sequence late in the film the seemed a bit out-of-sync (for a few brief seconds); I have to wonder if that wasn't a production issue back to the original film. This is a French spoken language release (with English subtitles), but there is an English-dubbed track available. Lastly, the disk includes a nice assortment of special features: "Arbitrary Desire" (an interview with screenwriter Jean-Claude Carrier); an interview with Carlos Saura; "Double Dames" (interviews with actresses Carole Bouquet and Angela Molina); and "A Portrait of Luis Bunuel" which is an in-depth discussion of the director and his films. It's certainly an impressive collection for a film of such distinction.

RECOMMENDED. As I indicated above, this one isn't for everyone. While there's a clear narrative at work here, so much of THAT OBSCURE OBJECT OF DESIRE is the study of an idea. It's a surreal investigation into the art of seduction and repulsion of how love leads to hate and vice versa. All of the players do a solid job, but I suspect the ending will leave more folks conflicted than they are happy, which is probably just what the director wanted.

In the interests of fairness, I'm pleased to disclose that the fine folks at Lionsgate provided me with a DVD screener of THAT OBSCURE OBJECT OF DESIRE for the expressed purposes of completing this review.

Yes, there is no other reason to watch this flick unless you are into Bond chick's and this one gives you what Bond's movies dont--some skin of future celebrities. The movie itself, however, kinda strange as most of Frenchies and lost in what the message is or should be. My understanding also, this flick is the only copy that is not cut in pieces. Recommended.

Buy That Obscure Object of Desire (1977) Now

Ink (2009)

I bought Ink on one single recommendation from a stranger on a forum here on Amazon. I've never been so pleasantly surprised by a blind movie purchase in my life!

Ink is an independent film, not with an enormous budget, but it doesn't stop it from being an incredible film with gorgeous visuals. You can see how much work went into every single second of this film. This movie stands out among everything else I've seen in a long time. Absolutely unique. The acting was fantastic, especially the acting from the young girl Quinn Hunchar, playing the character Emma. The ideas were original, the characters interesting, and the plot was engaging. And the ending... prepare for one hell of an ending. And some of you will need to keep some tissues close... A description on the back of the package compares the movie to Brazil, Donnie Darko, The Matrix, Dark City, and Pan's Labyrinth. I would definitely group it in with those films, although it is not a ripoff of any of those films at all.

Quick synopsis: there is another world, a dream world where two sides are fighting to control our dreams. Some our bringing us pleasant dreams, and others, the incubi, are bringing us nightmares. A battle ensues over the soul of a little girl named Emma, trapped in their world while in a coma... and the deciding factor falls on two men: John in the waking world, Emma's father, and Ink, a rogue warrior in the dream world, fighting to rid himself of his scars and shame.

This movie is absolutely incredible, please do yourself a favor and check it out.

I read in Joblo that this was "absolutely one of the best movies of 2009" and I am always on the lookout for good fantasy so I had to see it. Th trailers were great and the reviews were great, but none of them capture how good this movie is. I watched it hoping for a good scifi flick, and ended up with tears in my eyes. It's brilliantly edited, visually incomparable, and well acted. It's the kind of movie you will watch multiple times and continue to uncover new elements of the story. Yet it's still amazing on the first viewing. Get this movie and be prepared to be confused AND entertained! Hahah. DEFINITELY, one of the best moves of 2009. One of my favorite fantasy flicks ever.

Buy Ink (2009) Now

I saw Ink at a film festival in Annapolis, MD. I was unprepared for both the power and the originality of this independent film. It is the story of a young girl who lives in a dark dangerous world where different forces having fantastic powers try to influence dreams for good or for evil. The girl is being raised by dysfunctional parents and is put into danger by a creature nicknamed, "Ink". The effects are fantastic for a film made without the benefit of traditional industry funding. The suspense and fully realized characters are the equal of any "Hollywood" film and it was the best film I have seen in years.

Ink is filled with unique, original characters and you will fall in love with the character of the little girl. I literally could not take my eyes off the screen due to the fact that I really cared about what was going to happen to these people. This is a film I guarantee you will never forget. Don't miss it!

I hope the success of Ink propels Jamin and Kiowa Winans to make many more remarkable films.

Read Best Reviews of Ink (2009) Here

I'm not surprised by the number of bad reviews this movie got. It seems to be epidemic in the reviews I see here on Amazon. If you're every wondering how seriously to take a reviews just check the other reviews an individual has written and sometimes you'll see a pattern that might help you make up your mind if a film is for you.

This wasn't so much a movie in my mind as just a really well told story. It reminded me of the Firefly series with regard to the quality of acting and dialog. The actors are really comfortable in their characters, which is what makes any story real. This isn't something I would let my kids see, at least not until they were in their early teens. This isn't for kids, it's a story that parents should watch, or anyone who may be a parent soon. Life gets strangely tougher and tougher the older we get, and it's easy to lose our way in the perceived complexities. This story is about a father who loses his way after dealing with tragedies and unhappiness in his life, and how the kernels of goodness in him help him to come back from edge of true destruction. Yes, the language is realistic for people going through tough times, and yes there is some fighting (actually underplayed I though for how well those scenes were choreographed), but the interactions between the Storyteller, the little girl, and Ink are what make the story.

I'm an former straight-leg infantry soldier (for those of you who know what that means) who grew up in the deserts of Nevada, I have an awesome wife, two young children, and a busy work life. I've seen some life; and as simple as this story is, it brought tears to my eyes, and was one more nudge back towards remembering what's important in life. If you could use a little of that, I highly recommend this story. Good luck all you travelers out there...

Want Ink (2009) Discount?

Shot high contrast in a hazy, diffusion filter (probably post-production effects) this film effectively evokes the dream state, which is its subject matter. Not as brilliant as a David Lynch dream sequence, yet not caricaturized. It has a "Dark City" feel to it but less existential and, for lack of a better word, more dreamy.

The plot fails to capture until maybe half way through, but ultimately satisfies despite some cliches and awkwardly misplaced dialogue.

For my taste and the reason I bestow 4 and not 3 stars the cinematography saves the film. The birch forest shots are truly breathtaking. Also memorable is the sequence orchestrating the protagonist's car crash. Good stuff there.

The soundtrack compliments the subject matter and style nicely and offers a few memorable high points. It's something I might buy if available.

Overall a 3 star movie for most people I suppose. I bumped to 4 based on my own bias for beautiful shots and pleasing soundtrack.

Save 36% Off